Article By: Brian T Collins
Can the current international concert pitch of music somehow be improved to create a more resonant and pleasant positive experience for both the musician and the listener? Can that change be more resonant based on observations of geometry and mathematical patterns found in nature?
To answer these important questions we first must look at natural design and how we can apply that to music. Our inner ear for example works on the basis of Phi dampening. The water of our inner ears rely on Fibonacci spiral dampening through the seashell like structure of the cochlea to keep us feeling balanced, centred or grounded. This Fibonacci spiral shape helps cancel out certain inertial standing wave interference patterns just like a Helmholtz resonator in order to keep us properly balanced with the natural environment around us. When the inner ear is in stress we can experience a type of
“brain fog” condition or feel “spaced out”. Raising tuning in music may cause a slight dielectric stress on the inner ear.
Let us examine what Chas Stoddard has to say in “A Short History of Tuning and Temperament” about the inner ear and its spiral shape…
“An interesting consideration is the phenomenon of the octave. Why is it, when we consider the audible frequency range from 20 Hz to 20 KHz, we perceive a series of points along this scale that we can consider as having the same “quality” while patently being a different note? Part of the explanation may be that if we take a bi-lateral cross section through the cochlea, that part of the ear’s mechanism responsible for converting acoustic energy into electrical impulses, it reveals a spiral shape which can be described mathematically by a Fibonacci Series; the same maths govern the principles of the harmonic series. Neuro-pathology of the ear shows that octaves are decoded at the same point in each layer of the spiral. Some experts maintain that if the cochlea was a straight cone, rather than a tightly-wound spiral, we would have no perception of the octave at all; all we would hear would be a series of successively rising tones.” -Chas Stoddard, “A Short History of Tuning and Temperament”
DNA AND PHI
The natural Phi spiral shape of the cochlea can be found planet wide in a majority natural organic based life.
DNA in its measurements of 21 by 34 angstroms suggests golden mean or Fibonacci structure. DNA can oscillate to protect itself from dissonant interference patterns of mechanical and electromagnetic waves. I propose that equal temperament and tunings of higher pitch may possibly effect DNA as DNA resonates the language of music and not syntax binary. More study needs to be done by academic and independent researchers for according to Bruce Lipton, the biological functions of DNA can be affected in positive or negative ways.
According to the Scottish composer Stuart Mitchell, DNA is a cosmic musical score operating triplets of rhythm at over 3000 beats per minute.
Truly all frequencies affect DNA and consciousness and DNA responds to the environment both local and non-local. No single frequency can be claimed be a magic one and only healing frequency as we exist as an infinite universal medium of dimension. The intent of our consciousness plays an important role in forming the connection of healing and frequency. The “New Age” terms of 3D 4D 5D is completely a misnomer of true multi-dimension.
Changing frequency may also create an effect on the brain which may alter and affect memory and perception by the slight change of charge which may possibly affect tubulin dimers which could collapse the wavefront of consciousness and possibly alter reality. This needs more research by non-biased science. This is perhaps a possible explanation of why people report that A=440Hz ET and higher concert pitches can be perceived as a brighter, thinner, outward feeling around the of the head, whereas concert pitch at A=432Hz 12T5 or C=256Hz can be perceived as an inward experience of feeling within the chest and heart.
HeartMath Institute Director of Research Rollin McCraty states that “The heart generates the largest electromagnetic field in the body. The electrical field as measured in an electrocardiogram (ECG) is about 60 times greater in amplitude than the brain waves recorded in an electroencephalogram (EEG).” Read article HERE
I may add that the heart is one of the first organs to form in the womb, beating out the soliton pulse of cosmic musical DNA (a metaphor). We can feel our emotional bodies from the heart field and our solar plexus is the nerve cluster that can amplify those feelings like a microphone or transducer.
From my own observations, some of the harmonic overtone/undertone partials and geometric proportions of A=432hz 12T5 appear to line up to natural patterns. I found a resemblance to the movement of solitons. Solitons need a specific range to form into the realm of density and span from the micro to the macro cosmos. Solitons are not only found in water mechanics, but also in the relationship between quarks and protons.
THE ALCHEMY OF SATURN AND 432 ALIGNMENT
A measured phenomenon of effect that may support the idea of using A=432hz and 256Hz as a scientific concert pitch is also based on the amount of partials of A=432Hz from a musical scale that seem to correlate to organic systems and the measurement of planetary movement, the Sun and Saturn for example. Saturn is one of the solar systems accurate time pieces and it orbits the procession ever 864 of its years (432 x 2). Fulcanelli, the mysterious french master alchemist who wrote ‘Le Mystère des Cathédrales’ had this to say about Saturn when he deciphered the planetary cyclic cross at Hendaye: ”
…Saturn, because it is at the greatest distance from the sun of all the visible planets, has the longest “year,” taking a little less than 30 years to complete one circuit of the zodiac. This makes it the best precessional timekeeper of all the planets.
Saturn completes one precessional Great Year of 25,920 years every 864 of its “years,” a half cycle every 432 of its “years,” a quarter cycle every 216 of its “years,” and an eighth of a cycle every 108 of its “years.” This equals (108 x 30) 3240 years, or 45 degrees of precessional arc. We can continue counting in Saturn years down to 9, one 96th of the precessional year, or 3.75 degrees of arc and 270 earth years, which brings us to the alignment period of the galactic meridian and the zenith/nadir axis.
If we note when Saturn fell on a significant marker, such as the galactic center or antipode, then we can simply count Saturn cycles to mark the span of the Great Precessional Year. In this way, we could determine that if Saturn fell on the galactic antipode and made a station (since the earth is moving faster than Saturn, it appears as if it is overtaken, making it appear to stand still in the sky to mark the moment), then 432 Saturn cycles ago it was making a station at the same location, and would be doing so again at the completion of 864 Saturn cycles.” -Fulcanelli -open internet source.
STANDING STONES AND 432 GEOMETRY
Many ancient sites reflect the number 432 in their alignment to stars, planets and the rotation of the earth’s path through space.
Avebury and Stonehenge for example, yield the numbers 432. I must point out that distance and time are connected, adding zeros is an arbiter of scale; i.e. 432, 4320, 43,200 etc. (octaves)
The connection of Stonehenge to the 25,920 year orbital procession of the equinox and the number 432 is obvious to those who study standing stone sites long term. This is not a manipulation of numbers as Tara MacIsaac suggested in her previous article in the Epoch Times. It’s just not as obvious to most academics, scientists and journalists, employees who have not conducted long term field research due to restrictions of funding, political agenda they report to, and personal material worldview indoctrination.
Those who spend a lifetime and travel regularly to these ancient stones can see a different science, one that was hidden and great insight can be gained through spending time in these special places. It is a travesty that many who go through institutional entraining cannot understand the concept of negative space, undertones or how connections to sacred numbers can be hidden in plain sight. This is a complex area of study that requires a new way of perception and understanding.
With a basic understanding of Stonehenge and the concept of finding hidden negative space, you can take the first 30 stones in the outer ring of 360 degrees, divide that by 30 which gives you 12, and then divide 25,920 by 12 you get 2,160. which is the approximate diameter of the moon. When you divide the 60 stones in the second circle of 360 degrees by 60 you get 6. 25,920 divided by 6 equals 4,320. By dividing the 20 stones in the centre circle of 360 degrees by 20 you get 18. 25,920 divided by 18 is 1,440.
If the second circle of 60 stones equals 25,920 years then each stone equals 432 years around the 12 sectors of the 25,920 year procession.
The center circle stones would be 20 x 432 which equals 8,640 years The center stone in the center circle would be divided in half at the time of the equinox making two stones for a total of 20. 1,440 is one sixth of 8,640.
Again in the numbers of mathematic pitch we see the numbers 144, 216, 432, 864. The earth’s wobble or spiral action gives us our time count of 86,400 seconds in a day and 43,200 seconds in 12 hours. 12 x 60 equals 720.
2 x 360 equals 720. I must also mention that it takes 72 years for the earth to travel one degree around the 25,920 year procession of the equinox. Many stone circles have shown that these numbers also foretell of the changing of earth’s wobble and past star pole positions according to alignment. The elephant in the room for academia is that the ancient skywatcher cultures must have observed the procession of the equinox for millennia in order to be aware of the change in rotation over a longer period of time. That is a dangerous point of view to the current establishment, as it suggests that we are not told truth about history and ages of ancient sites. If one part unravels, the tapestry of lies collapses.
43,200 can be found in the great pyramid of Giza as a balance point ratio representing the relationship to the pyramids location according to the diameter of the earth, moon and sun. Author Graham Hancock also reports there is a relationship to the number 43,200 and the ancient builders of the great pyramid. Although we will ever know the exact reason why these skywatcher cultures were motivated to set these numbers in stone, the clues lie in the ratios as some kind of marker or calibration point. I believe the number has a significant origin in calibrating instruments.
There are also many stone circles that yield the number 366 suggesting the circle was divided into the 365.24 day cycle we have today. I propose the difference between the 360 and 366 divisions were perhaps from an attempt to recalibrate the system after the earth changed orbit as an attempt to balance the earth after cataclysm. I hope to shed more light on this subject by the year 2020.
According to Christopher Knight and Robert Lomas, many stone sites were laid down to chart the path of the passing of certain astral bodies that from time to time may cause cataclysmic events. It might surprise many to learn that a highly advanced global civilization built monuments worldwide to the same ancient code of scale with numbers 9, 72, 108, 216, 432, 864, and that after the devastation of global catastrophe, the skywatcher cultures that had knowledge of the previous ancient ways, built markers for future generations to come. Carl Munck conducted archaeo-cryptography research into this hidden code embedded into ancient geometry. Most ancient sites follow the tracks of ley lines known as telluric currents.
The great year of 25,920 years were set into stone alignments and temples all over the earth. Although this is not obvious to mainstream reporters. These wisdoms and geometries were hidden from public view for a good reason. For centuries accurate astrological observatories served as classrooms and places of court and custom. It was in ancient times forbidden to alter session stones and markers and in some occasions such trespasses carried a death sentence.
Those accurate calenders of astrological time keeping were finally altered by the formation of the first corporation sole known as the Roman Church. Stones & temples worldwide were destroyed, some stones moved, many vandalised and inscribed with the cross to convert them to the Roman (cult) Church in their lust for power and dominance over the earth.
Natural time keeping was forbidden by the Roman Church and the stone Norse weoh calendars of Europe and most of the standing stone circles in greater Britain and Brittany were either cracked, pulled down or altered by the establishment at that time. Today the foundation corner stones of control touch every facet of science, education, media, political, legal, medical and financial systems. The polemic foot solders of academia and media troll those who discover truth in these ancient wisdoms.
My concern of why mainstream supporters do this, always comes back to this question; If 432 used in music has no effect, then why is there a concentrated effort to confuse the public from trying it first hand? Who cares about the debate of proof, that takes you away from the experience. Just try it! Why sway people from trying it? Perhaps it can change the perception and relationship humanity has to current control systems?
The answer may lie in the geometry of space time itself and how consciousness can manifest on the quantum level of reality. More on this will be revealed later!
INTRODUCTION OF 440HZ TO AMERICA
Concert pitch 440Hz was slowly introduced into the United States By navy-man J.C. Deagan.
Mr Deagan got his start in frequency when he was stationed in England whilst on active duty with the navy and attended a lecture by Hermann Helmholtz, a 19th century German physicist and physiologist who wrote “The Theory of the Sensations of Tone as a Foundation of Music Theory” in 1863. After the lecture, JC Deagan was inspired to create bells and chimes in 440Hz and from marrying into a prominent German cabinet maker family (the Funcke’s) he procured the funding and social status to persuade societies of music to change concert pitch to A=440Hz circa 1910. He continued to sell all pitch standards A=435Hz(French) A=454Hz(English) and A=461(American) until 440Hz was passed by the American Federation of Music in 1917. He then exclusively manufactured in 440Hz.
By the 1920’s America was slipping away into the purse strings of the international bankers via the registered Delaware corporation called the UNITED STATES and the tuning of American music became absolute with the passing of A=440Hz as a standard of concert pitch by the U.S. standards bureau in 1922. Mr Deagan also began importing children’s marimbas tuned to A=440Hz from Germany. During World War II, his call to arms 440Hz chimes were used in war time movie propaganda reels and still to this day can be heard as the call sign tone icon of NBC broadcasting, the notes E G C.
More information here: NBC CHIMES
432HZ/256HZ TWELVE TRUE FIFTHS TUNING
Maria Renold’s book “Intervals Scales Tones and the Concert Pitch C=128hz” claims conclusive evidence that 440Hz and raising concert pitch above scientific “C” Prime=128hz (Concert A=432hz) disassociates the connection of consciousness to the body and creates anti-social conditions in humanity.
Some audiophiles have also reported that A=432Hz music seems to be non local and can appear to fill a room, whereas A=440Hz can perceived as directional or linear in sound propagation.
Raising concert pitch may cause stress or warping of acoustic instruments and may seriously damage a singers vocal chords according to some professional opera singers. Maria Renold’s book is a wealth of information on not only A=432Hz, “C” prime 256Hz and 128Hz, but also a new way to tune instruments to A=432Hz which is the Twelve True Fifths tuning method (12T5). This harmonic alternative allows scientific “C” prime 256Hz to align with A=432Hz whereas other harmonic intonations do not. This allows for a greater geometry in music tuning under 12 true fifths similar to the method used in 1518 by Grammateus.
This method is an interesting and resonant irregular tuning unlike modern Equal Temperament which is the closed circle of tuning that we are constrained to as musicians. Equal Temperament (ET) was the excuse for musicians to play consonance, but it actually closes out perceptions to the sensations of tone and resonant harmony.
If we examine the 20th century collective consciousness and the use of A=440Hz with equal temperament in mass media pushed through radio & television as the “British Invasion” of Rock & Roll, we see the potential anti social behaviours and possible dangers of using higher and higher pitches as central references for music although this author does not believe that the use of 440Hz was a conspiracy and instead more about ignorance by standards committee whom were not briefed properly on frequency research.
It is for this very reason that “Just” intonation is making a comeback with some composers and after the constrained compromise of equal temperament since the 1850s onwards, people are seeking purer alternatives to the harmonic intonations of tunings and “Just” and mean tone tuning offers a number of more natural harmonics than the artificial closed circle compromise of equal temperament.
SPIRITUAL ASPECT OF 432 256 128
This information was well known over a hundred years ago and Rudolf Steiner warned mankind that using “luciferic brightness” and “arhimanic” tones in music could bring a condensing of greed forces in the west instead of “C” Prime=128hz (Concert A=432hz) which he mentioned was “Christ” consciousness of ascendant energy and angel “Micheal” sun tone energy in the collective awareness in the evolution of man.
Although this author does not believe in any religious or occult societies, when you let go of belief, there is a spiritual connection to nature that everyone born on this planet has by birthright.
As far as consonant music is concerned, the difference between concert pitch A=440Hz and Concert A=432Hz is only 8 cycles per second, but it is a perceptible difference of awareness in the human consciousness experience of the dream we share called existence.
THE GEOMETRY OF 432HZ FREQUENCY
Photo courtesy By: CymaScope™
We wondered what the geometry of 432Hz would look like using Cymatics so I contacted John Stuart Reid, the co-designer of the CymaScope™ regarding his wonderful invention and the geometry of the A=432Hz tone. The CymaScope™ is the pinnacle of cymatics research and is the concept of John who as an acoustics engineer, carried out cymatics research in the King’s chamber of the Great Pyramid of Giza in 1997.
The CymaScope™ is an accurate device that measures acoustic vibrations of nodal points that form patterns of geometry in different liquid or solid mediums.
The science of cymatics which is geometry through vibration was researched and published by Dr. Hans Jenny in 1967, in his book called The Study of Wave Phenomena.
Here is a transcript of John’s correspondence;
“432 Hertz pops out as a triangle, every time we image it.
We thought there was something wrong with the CymaScope™ but after trying for more than an hour we concluded that the number 3 was somehow universally connected to 432 Hertz.”
“We captured it on video also and it looks like it’s alive, it writhes and pulsates and refuses to take up any other form. We researched the reason why it takes up this geometry and it turns out to be an interesting case:
When A is tuned to 432Hz the frequencies of the other A’s shift (within a decimal point) to 27 Hz, 54, 108, 216, 864, 1728 in other octaves.
D becomes 576 Hz which becomes 9 Hz, 18, 36, 72, 144, 288, 1152 in other octaves. E becomes 324 Hz which becomes 81 Hz, 162, 648, 1296 in other octaves. All of these frequencies are divisible by 3…
Regards, John Stuart Reid.”
John had confirmed with his incredible invention the CymaScope™, what seems to be a scientific interpretation of geometric and mathematic order to the nature of sound. Although the values given above are derived from the mathematical scale, they create slight non-consonant values which cannot be used as an absolute standard today due to the problem of the pythagorean comma, which is a slight wobble or dissonance in division of the musical octave.
This comma was the foundation reason that created a compromise between the three modes of musical philosophy so musicians could have a standard tuning called Equal Temperament. It was done by slightly bending the Pure 5th to create the division of the octave we know today as 440Hz ET.
However for the sensation of tone to be more resonant at 432Hz you can alleviate the problem of the pythagorean comma by bridging the tuning of C Prime 256Hz with A=432Hz at Twelve True Fifths Tuning. The result is far more resonant than Equal Temperament tuned to 440Hz and from the stand point of Cymatic and acoustical physics research, should yield interesting new results about the nature of resonance.
I invite John to resample the 432Hz Image using natural acoustic scale tones for A=432Hz/C=256Hz done at 12T5 tuning. This could be achieved by constructing an instrument similar to a monochord. I am sure the results would be spectacular.
Please visit johns site more more and exciting information about his incredible Cymascope here: CYMASCOPE™
***Images copyrighted and courtesy of John Stuart Reid of CymaScope™ as we are in agreement with John to display this image under certain copyright conditions, please link back and reference this page and Cymascope™ copyright. As this page is updated from time to time please make sure you refresh your information also Thank you.